“In the interstices of language lie powerful secrets of the culture.”

It is not really about them though it targets them as consumers.

Reality, the oppressor’s tongue.

I am a citizen of a country that has just undergone a thieved election, a country deeply and dangerously divided between rich and poor, but also between rich and middle class.

The dialectic between change and continuity is a painful but deeply instructive one, in personal life as in the life of a people.

So endlessly, still expecting to be believed. We are accustomed to the contempt inherent in the political lie.

A life I didn’t choose chose me: even my tools are the wrong ones for what I have to do.

I choose to love this time for once with all my intelligence -from “Splittings

I think my work comes out of both an intense desire for connection and what it means to feel isolated. There’s always going to be a kind of tidal movement back and forth between the two.

Sexuality, politics, intelligence, power, motherhood, work, community, intimacy will develop new meanings; thinking itself will be transformed. This is where we have to begin.

I don’t want to succumb to the idea that for the generation, or generations, raised on television, the text is irrelevant or so intimidating that they won’t deal with it.

If, as women, we accept a philosophy of history that asserts that women are by definition assimilated into the male universal,that we can understand our past through a male lens.

If the imagination is to transcend and transform experience it has to question, to challenge, to conceive of alternatives, perhaps to the very life you are living at the moment.

Can individual psychic wounds really heal in an abusive and fragmented society? Audre Lorde has a poem which begins,

The connections between and among women are the most feared, the most problematic, and the most potentially transforming force on the planet.

It takes some strength of soul–and not just individual strength, but collective understanding–to resist this void, this nonbeing, into which are thrust, and to stand up, demanding to be seen and heard.

What we see, we see and seeing is changing

There’s no such thing as “fixed” culture. China is also becoming more global. Its problems are becoming international problems, becoming German problems, becoming American problems.

[Cultural departments] don’t care about culture. Maybe they’re the furthest from the people who understand culture.

Everything is selected by the central government without good judgment or an understanding of culture to make it really safe. They will become nobody to maintain their power and be raised to the next higher level.

Although the Nasser revolution of 1952 was secular, the culture remained deeply religious – but it was a faith of moderation and tolerance.

Now I’ve come to such a mixed culture: America, Europe, South America, Africa. And the politics are changing everywhere all the time and becoming even more unpredictable.

[Shanghai Biennale] has been my attitude for as long as I’ve been practicing art and other cultural-related activities.

I don’t personally feel any association with a kind of culture related to state, or culture related to power, which I think is always disgusting.

[Cultural department] understand nothing but bureaucratic daily affairs. They don’t care about culture.